On the right as you enter are five pictures that once
adorned the Aldsbrandini Palace, namely, the St. Catherine by Raphael, a Claude, a Garofalo, two by Ferrara, and several smaller ones. But how shall I attempt to describe to you the St. Catherine? This lovely picture combines all the refined elegance of the Venus de Medici, in form, contour, and flowing lines, with an astonishing delicacy of colour, and masterly yet softened execution. The eyes are turned upwards with an expression of heavenly resignation, the neck, flesh and life itself, the hands, arms, and shoulders so sweetly rounded, while the figure melts into the background with the softness of Corregio.
And fills
The air around with beauty, we inhale
The ambrosial aspect, which beheld instils
Part of its immortality; the veil
Of heaven is half withdrawn, within the pale
We stand, and in that form and face behold
What mind can make, when Nature’s self would fail.
I can only convey to you a very slight idea of the impression produced by the contemplation of this admirable painting. Such grace and sweetness, such softness and roundness in the limbs. She seems the most beautiful creature that ever trod this earthly planet; in short it is no earthly beauty that we gaze upon, but the very beau ideal of Italian loveliness.
Eve of the land which still is Paradise.
Italian beauty! didst thou not inspire Raphael? “How different,” said Mr. Beckford, “is that lovely creature from Mr. Etty’s beauties. They are for the most part of a meretricious character, would do well enough for a mistress; but there,” pointing to the St. Catherine, “there are personified the modesty and purity a man would wish to have in a wife, and yet Frenchmen find fault with it. C’est un assez joli tableau, say they, mais la tete manque, de l’expression, si elle avait plus d’esprit, plus de vivacite! Mais Raphael, il n’avait jamais passe les Alpes.” We burst out laughing, and I added, “Le pauvre Raphael quel dommage, de ne savoir rien du grand. Monarque! ni de la grande nation.” “Yet,” I continued, “there is a painter, Stotherd, who has come nearer to the great Italian, in the grace and elegance of his women and children, than perhaps any other, and merits well the proud appellation of the English Raphael.
What a shame that he never met with encouragement.” “But I understood that he was tolerably successful. He painted many things for me at Fonthill. You are surely mistaken.” “By no means,” I replied. “Latterly he seldom sold a picture, and supported himself on the paltry income of £200 a year, raised by making little designs for booksellers. Yet what a noble painting is Chaucer’s pilgrimage to Canterbury.” “It is indeed,” said Mr. Beckford. “But, sir, there is another painter, Howard, whose conceptions are most poetical. Do you remember his painting at Somerset House in 1824, representing the solar system, from Milton’s noble lines—
Hither as to their fountain, other stars
Repairing, in their golden urns draw light?”
“I remember it perfectly; ’twas a most beautiful picture.” “Milton’s original idea, that of the planets drawing light from their eternal source, as water from a fountain, is certainly a glorious, a golden one; but who beside Howard could have so tangibly, so poetically developed the poet’s idea in colour. The personifying the planets according to their names, as Venus, Mercury, and so forth, was charming, and the splendour of the nearer figures, overwhelmed as it were with excess of light, and the gloom and darkness of the distant, were admirably managed. What a wonderful picture!” “He never painted a finer.”
Mr. Beckford then pointed out his Claude. It is a cool picture, the colouring grey and greenish, the time of day, early morning just before sunrise: but words fail to express its beauties. There is a something in it, a je ne sais quoi. Such clearness in the colouring; the trees are all green, but so tenderly green; the sky and distance of such an exquisite tone that you are at once in imagination transported to those “southern climes and cloudless skies” that inspired Claude Lorraine. I can give no possible idea in writing of the tone of colour in this picture, except by comparing it to the semi-transparency of Mosaic, such are the clearness of the tints and pearliness of the sky and distance. As to chiaro-oscure, it is breadth and simplicity itself. Nothing but the purest ultramarine could ever produce such a green as that which colours the trees.